THE INTER-SOCIETY FOR THE ELECTRONIC ARTS THE ISEA NEWSLETTER NUMBER 3, MARCH 1992 __________________________________________________________________________ THE INTER-SOCIETY FOR THE ELECTRONIC ARTS Calls Candidates for the organization of FISEA 94 -The First International Symposium on Electronic Art (FISEA) took place in 1988 in Utrecht, Holland. It was sponsored by the Foundation for Creative Computer Applications and the Utrecht School of Arts. -The Second International Symposium on Electronic Art (SISEA) took place in 1990 in Groningen, Holland. It was sponsored by the Groningen Polytechnic. -The Third International Symposium on Electronic Art (TISEA) will be held in Sydney, Australia in 1992, sponsored by the Australian Network for Art & Technology (ANAT) and the Australian Film Commission. -The Fourth symposium (FISEA 93) takes place in Minneapolis, USA, in 1993, sponsored by the Minneapolis College of Art & Design. The Inter-Society for the Electronic Arts (ISEA) is looking for candidates for the organization of the Fifth International Symposium on Electronic Art (FISEA 94). There is allready a candidate for this symposium in the U.S., but ISEA aims at having the symposia in Europe every other year. So preferably, the Fifth symposium (FISEA 94) takes place in Europe. The International Symposia on Electronic Art are the only scientific congresses on electronic art in the world. They are multi-disciplinary and a meeting ground for artists and scientists. They are an excellent opportunity for institutes and/or regions that want to make their interest in electronic art publically known. At the one hand the institute (and/or region) will become known world-wide as a breeding ground for electronic art and on the other, the symposium will provide the institute/region with a rare collection of expertise: it is a unique chance to import knowledge. The symposium should consist of a three-day scientific congress, workshops/tutorials, an art exhibition, possibly also a trade show, a film and video show, concerts and performances. At least one publication (Proceedings) should result from the symposium. The organizer will get all possible assistance from ISEA. Potential candidates (non-european candidates too) can write to: ISEA, POB 60103, 9703 BC Groningen, Holland. Phone: 31-50-425254 Fax: 31-75-701906 (c/o D. Boon) Email: ISEA@RUG.NL or A430WYNA@DIAMOND.SARA.NL __________________________________________________________________________ Jacquelyn Ford Morie FLORIDA FILM FESTIVAL at ORLANDO The Florida Film Festival at Orlando, an invitational exposition of film and animation (computer and traditional), will be held from June 5 - 14, 1992, in Central Florida. The full program includes awards, seminars, galas and showcases, for an estimated audience of 6000. Entries are now being solicited for this event. We prefer to preview works on 1/2" or 3/4" videocassettes. NTSC format ONLY. (We will accept PAL cassettes only if the cost of transfer to NTSC is covered by the filmmaker or distributor.) The deadline for receipt of preview materials is April 1, 1992. SEND ENTRIES OR INQUIRIES TO: FLORIDA FILM FESTIVAL ENZIAN THEATER 1300 South Orlando Avenue Maitland, FL 32751 USA Tel: 1-407-6291088 Fax: 1-407-6296870 Entry forms can also be obtained from ISEA __________________________________________________________________________ Lora Jost FAX ART RESPONSE You are invited to participate in FAX ART RESPONSE, an art and activism project where you can express to others your cares and concerns about your life and community. This project is a response to election campaigns which are often remote and unresponsive yet are intimately connected and powerfully important to people's lives, experiences and wellbeing. You can participate by faxing pictures, drawings, clippings, photos and other expressive information about your cares and concerns to (1)-608-2510712 between March 1 and 31, 1992. All faxed images will be included in an installation exhibit which will be on display at Survival Graphics (853 Williamson, Madison, WI, USA) during April. Documentation of the exhibit will be sent to all participants. Lora Jost Fax Art Response 414 S. Mills Madison, WI 53715 USA __________________________________________________________________________ Frans Snijders PRINCIPALS AND PRACTICE OF ADVANCED USER-INTERFACES A four day course Abington, UK 12-15 May Organized by RAL (UK), CWI (NL), INRIA (France) & GMD (Germany) Information and registration: Frans Snijders CWI, POB 4079 1009 AB Amsterdam, Holland Phone: 31-20-5924171 Fax: 31-20-5924199 Email: email@example.com __________________________________________________________________________ Selected items from Fineart Forum , Volume 6 #3 and Leonardo Electronic News, March 15, 1992 The Inter-Society for the Electronic Arts contributes to Fineart Forum and republishes the items on electronic art on behalf of its members. FAF and LEN are published by the International Society for Art, Science and Technology on behalf of The Art, Science and Technology Network. __________________________________________________________________________ Jay David Bolter THE VISUAL ART OF HYPERTEXT In addition to its more prosaic uses, hypertext can give us a new kind of interactive literature and art. (Hypertext with graphics and video is often called hypermedia, but I will use hypertext as the generic term for all kinds of interactive presentations under computer control.) Hypertext can bring together verbal and visual art, word and image, in surprising ways. Even in some of the simplest hypertextual systems, graphics can be pasted into a space above or below verbal text. And hypertext can go beyond mere collage. In the most interesting hypertexts, pictures can become part of the text itself: images and diagrams can enter into the symbolic space that previously belonged to alphabetic writing alone. "Victory Garden" is a new fiction by Stuart Moulthrop, published by Eastgate Systems, Cambridge, MA. This large hypertext, with over 990 episodes and 2800 interconnections, offers the reader a labyrinth of possible reading paths, and appropriately it begins with a diagram of the labyrinth. What the reader sees is a garden of intersecting paths and at each intersection the name of an episode. The garden serves as a visual symbol for the whole fiction; it is also an allusion to Borges' story "The Garden of Forking Paths." What is most important is that the diagram functions operationally as well metaphorically to control and organize the space of the fiction. The named intersections are linked to various episodes: by moving the cursor over a name and clicking twice with the mouse, the reader branches to that episode. Thus, the labyrinth is not simply an illustration, as maps and diagrams are in printed text: it is a part of the symbolic structure of "Victory Garden." The labyrinth functi- ons both as a picture of the garden and as a set of symbols woven into the fabric of the text. Hypertexts with such linked graphics remind us of medieval illuminated manuscripts. In such manuscripts the illuminated letters work simultaneously as abstract or figural art and as verbal elements in the text. So too in "Victory Garden," the picture of the garden is part of the story. "Victory Garden" offers only a few graphics at the beginning of its verbal labyrinth. (This fiction is, by the way, important for many other reasons that I cannot discuss here.) Its few graphics, however, already demonstrate how picture elements can be textualized in electronic writing. The electronic writing space is by nature eclectic. Illustrati- ons, icons, images, and full-motion video can all penetrate the space reserved for alphabetic writing in the technology of print. The eclectic charater of electronic writing may well encourage more collaboration between writers and visual artists; it may help further to blur the distinction between the visual and verbal arts in our time. Contact: Jay David Bolter (firstname.lastname@example.org) __________________________________________________________________________ Richard Gess CALL FOR PAPERS PERFORATIONS, an Atlanta-based journal of language, art, and technology, is seeking contributors for a special issue with the theme: AFTER THE BOOK. This issue will be devoted to work about the decline of The Book As We Knew it, the rise of hypertext, and the possibilities for writing in the world post-ink- and-linearity. We're particularly interested in work approaching hypertext from film and video theory, in critical work on hypertexts, in hypertexts on-disk or in print extracts, and in work challenging our position that hypertext, in its transcendence of the restrictions of the paper book and the one-way movie, represents writing's first true step beyond Sterne/Joyce and film/ video. Essays, print and/or graphic collages, fictions, or hybrids of any sort are welcome. No restrictions on style, no minimum or maximum length; we're hoping that contributors will send us serious and adventurous work that they might hesitate to submit to a more traditional journal. Deadline: April 15, 1992 (negotiable for authors preceding submissions with queries). Macintosh-readable disks preferred, all formats acceptable. Send queries and submissions to: email@example.com Richard Gess, Cataloging Dept., Woodruff Library, Emory University, Atlanta GA 30322-2- 870. About PERFORATIONS: Atlanta's Public Domain alternative arts collective published the first issue of PERFORATIONS in September 1991. PERFORATIONS is a journal where theorists, critics, and artists contribute equally to examinations of current issues in language, art, and technology. Issues are theme-oriented: Fall 1991 is about "The Post-Mortem Condition," and Winter 1992 is about "Conspiracies, Esthetics, and Politics" (featuring an interview with Jean-Francois Lyotard and an on-disk hyperfiction). Spring 1992, due in June, will be "After the Book;" issues beyond will consider "Dreams, Bodies, and Technologies," "Multi-, Mini-, and Quasi-Cultura- lisms," and "Virtual and Performative Architectures." PERFORATIONS is distributed to a growing audience of working artists in all genres and scholars in all disciplines; publication in PERFORATIONS is a way of communicating beyond the usually suspected readers for both artists and critics. PERFORATIONS subscriptions are $25/4 issues; first issue for current new subscribers will be Winter 1992. Send subscription requests to: Public Domain, Inc., 1140 Euclid Ave., Atlanta GA 30307. Checks/money Contact: firstname.lastname@example.org Richard Gess, Cataloging Dept., Woodruff Library, Emory University, Atlanta GA (1)-30322-2870. __________________________________________________________________________ Allucquere Roseanne Stone 3CYBERCON RESCHEDULED The Third International Conference on Cyberspace, scheduled for May 28 and 29, 1992 in Montreal, has been cancelled and rescheduled. The Program Committee would like to thank all those who submitted abstracts and requests to attend, and to invite them to re-submit later in the year for the rescheduled Third Conference, which will be held in May 1993. Contact: sstone@weber.UCSD.EDU __________________________________________________________________________ Ed Lantz ASTRONAUT MEMORIAL HALL: Call for multimedia proposals The Brevard Community College in Cocoa, Florida USA is requesting propo- sals for interactive science exhibits to be included in their Astronaut Memorial Space Sience Center. The exhibits will exploit interactive audio/video, virtual reality, cyberspace, telepresence and hypermedia.Pro- posals with Teams involving freelance artists are encouraged. If you are interested in proposing, send a letter of intent by March 14, 1992 with full proposals due by July 10, 1992. Contact Ed Lantz, Chief Engineer or Mike Hutton, Director of Astronaut Memorial Space Science Center, Brevard Community College, 1519 Clearlake Road, Cocoa, Floida 32922, USA ph 1-407-632-111, extension 3500 __________________________________________________________________________ Mark Battier ACOUSTICS INTERNATIONAL COMPETITION Westdeutscher Rundfunk Koeln once again invites entries for Acustica International, a competition for audio artists. The aim of this competiti- on is to encourage the production of the acoustic art and international co-operation in this field. The criteria and the conditions: Language, sound, music can constitute the compositional elements of the acoustic realization. The project may be either multi-lingual or non-lingual. The forms may range from vocal or non-vocal collage, polyphonic sound-poetry composition to sound mix and multi-meida sound-performance. Each concept chosen by the jury for production will have to be specially produced for WDR by the author/team themselves. Any of the following may be submitted: - detailed concepts - scores - texts - acoustical material The closing date of entry is March 31 1992. WDR accepts no liability for lost entries. The jury consists of: Juan Allende-Blin, Frans van Rossum, Gerhard Ruhm, Klaus Schoenig and Alain Trutat. The entries should be forwarded in quadruplicate complete with a detailed production script, biographical notes of the author, as well as declarati- on stating that the authors possess the sole performing and copyrights, and that WDR be absolved from any obligations to third parties, to the following adress: Westdeutscher Rundfunk Studio Akustische Kunst Acustica International Postfach 101950 D-Cologne 1 Germany For more information, contact the address above. ________________________________________________________________________ Alessandro Polistina PHD THESIS ON VIRTUAL REALITY : PhD Thesis on Virtual reality: Technical and cultural aspects Prof Alessandro Polistina ( Politechnico di Milano, Facolta di Architettu- ra, Dipartimento di Progettazione dell Architettura, Via Bonardi 3, 20133 Milano, Italy. Ph 0039-02-23995061) is coordinating a Ph D thesis entitled " To live the imaginary: the Virtual reality, technical and cultural aspects". The authors are interested in receiving descriptions of works involving interactive computer arts together with pictures of the work. _______________________________________________________________________ Judy Malloy ABOUT WORDS ON WORKS >From the indecipherable low whispering voices in POINT OF REFERENCE (Hooykaas and Stansfield) to the chanted refrain of "& these are the things we left on the moon" in THE NIXON BOOKMOBILE (Skratz and Davis), the 8 artists, poets, and musicians who write about their work in this issue of LEONARDO ELECTRONIC NEWS alter and/or clarify our perception of our uneasy,twentieth century environments. Some (Harris, Pocock-Williams) use the tools of technology to integrate and communicate information. Others (Shaw, Siegfried) use the tools of technology to displace or distort information. POINT OF REFERENCE, a video installation by Dutch artist Madelon Hooykaas and British artist Elsa Stansfield (who have been making collaborative video installations, video tapes, and photo works since 1975) is "visually like a dark rocky island in a sea of information." In contrast, CONFIGURABLE SPACE by San Francisco multimedia artist Craig Harris "is directed towards the development of a balanced understanding about how we use the visual, aural, tactile, and configurable capabilities of digital technologies." Jeffrey Shaw's video sculpture ANAMORPHOSES OF MEMORY centers optically distorted erotic memories on the bed with which they are connected. Behavioral scientist Walter Siegfried's SOUND-TRACKS TO REALITY uses unexpected sounds in a conventional "Walkman" tour in order to alter participants' experience of their environment and thus increase their awareness and involvement with the space that surrounds them. In A CERTAIN UNCERTAINTY, her experimental music video that features The New York Guitar Project, computer artist Lynn Pocock-Williams focuses "on the connections between the qualities of the sounds and visuals." Through the eyes of a culture very different from our own, poet G.P. Skratz and composer Bob Davis look at American culture and, in particular, at our fascination with outer space exploration. Accompanied by visual illustrations, by a cappella duets and by sounds produced by Davis (on unusual instruments such as large water bottles), Scratz describes the progress through China of the American artifact-laden NIXON BOOKMOBILE. **** POINT OF REFERENCE Madelon Hooykaas/Elsa Stansfield Grote Bickersstraat 44 c, 1013 KS Amsterdam, The Netherlands The video installation, POINT OF REFERENCE (1990) is a 3-channel video, 6-channel audio installation. It consists of 5 triangular bookcases and 108 video tape storage books. POINT OF REFERENCE is visually like a dark rocky island in a sea of information. The work has a continually shifting point of reference that has similarities to the processes of memory. On one monitor written psychological texts (on memory) flip over into pages of early books on astronomy and the earth. A finger traces the position of our planet on a solar diagram by Copernicus (1543). Simultaneously another channel shows composite images from a camera that scans the book-lined walls of a 17th century library. On the third channel of video is a portrait of a man. His thoughts are projected into a triangular form, like a mind's eye. These images are references to our earlier videotapes.* The audio channels contain, among other things, low whispering voices that remain indecipherable from every angle around this work. POINT OF REFERENCE was shown at Foundation for Visual Arts, Amsterdam, NL in 1990, at Foundation Het Kijkhuis, the Hague, NL in 1991 and European Media Festival, Osnabrueck, BRD in 1991. A single channel version of POINT OF REFERENCE premiered on the Netherlands Art Channel and was a part of Le Mois de la Photographie a Montreal in 1991. ---- ed: The video POINT OF REFERENCE includes fragments from the artists' THE MUSEUM OF MEMORY video tape series (1985 -). ***** CONFIGURABLE SPACE Craig Harris, 2211 Mission Street #C, San Francisco, CA 94110, USA Email: email@example.com CONFIGURABLE SPACE is a series of multimedia works built upon the simulation of future creative environments. These works represent ongoing research and artistic explorations --- probing the creative process, and the relationship between artists and new technologies. CONFIGURABLE SPACE is directed towards the development of a balanced understanding about how we use the visual, aural, tactile, and configurable capabilities of digital technologies, and how the tools developed affect ways that we think, feel, formulate, and develop on intellectual, spiritual, and emotional planes. The simulations incorporate representations of interactive computer display tables, walls, and holographic images, within a multi-dimensional sound environment. In CONFIGURABLE SPACE I dynamically construct the total environment and the creative tools to suit specific requirements. The set for the original installation (constructed in a large studio in 1989) consisted of a light table, a light wall, slide projectors, a piano bench, chair and table with accoutrements. Marion Gray shot hundreds of photographs during multiple sessions in the environment, in which I used sketches on transparencies, colored gels, slide projections, and live drawing. These images capture various perspectives of room views and close images, documenting the sketching and representation process during the development of a music composition. CONFIGURABLE SPACE VII was a hybrid performance-presentation sponsored by Yamaha Music Technologies in Marin, California, in May of 1990. The purpose was to demonstrate the underlying concepts of CONFIGURABLE SPACE, in a context permitting experimentation with multimedia communication resources. The event space, appropriately located in an office presentation space intended for corporate communication, was built around a large, white wall. Three slide projectors were positioned carefully with respect to image size, angle, and proximity. The multi-layered sound environment included original music, prerecorded music from different cultures and styles, and prepared soundfiles of sampled and processed sound, all placed in a variety of simulated room environments. Sound for the two microphones was processed to create two different ambiences. I used one, the evocation of a large room with a distant dreamy character for story telling and indirect communication and the other, which evoked a smaller, less-reverberant environment for declamatory and direct communication techniques. During the event, I wrote and drew over the surface of the wall, selecting multicolored marking pens of different thicknesses, with attention towards the functional use of color, shapes and multi- dimensional containers. The work consisted of two movements. Each movement was weighted differently with respect to direct, linear presentation techniques, and indirect, non-linear modes of communication. Michael Czeiszperger and Scott Lyons were given score directions for performing the visual and aural components. Writing and drawing on the wall reinforced main points, summarized internal sections within the presentation, followed tangential thoughts, and drew links between graphic and textual material --- written and projected. The performers responded to what they saw, heard, and felt. Images changed and modulated in light intensities --- blending, highlighting, and contrasting with the drawing on the wall. In CONFIGURABLE SPACE, I track the creative process, examining tasks and the tools designed to address several circumstances. The total environment is considered in relation to its impact on creative activities, and I explore communication on many levels. ---- ed: Harris, whose works appear as pieces for concert performance, music theater, dance, video, and art installation, is the Executive Director of Leonardo, the International Society for the Arts, Sciences and Technology. **** ANAMORPHOSES OF MEMORY Jeffrey Shaw (with Dirk Groeneveld) Javastraat 126, 1094 HP Amsterdam The Netherlands ANAMORPHOSES OF MEMORY (1987) is a video tape sculpture. A horizontal monitor, lying on a bed, has a mirrored cylinder standing vertically in the center of the screen. Scrolling concentric circles of text on the screen are anamorphically reflected and read on the mirrored surface of the cylinder. The text (like the metaphor embodied in the sculpture) evokes a constellation of erotic memories associated with that bed. In 1987, ANAMORPHOSES OF MEMORY was shown in "Kunst Over de Vloer", Entrepotdok, Amsterdam and "Municipal Art Acquisitions", Fodor Museum, Amsterdam. ---- ed: Shaw, an interactive art pioneer whose works range from interactive inflatable sculptures (WATERWALK, 1970; CLOUD, 1967) to interactive computer graphic installations (THE LEGIBLE CITY, 1988-90; ALICE's ROOM, 1989), lives and works in Amsterdam. **** SOUND-TRACKS TO REALITY Walter Siegfried. Lindwurm Str. 74 D-8000 Munchen 2, Germany The Max Mueller Bhaven in Bombay organized a congress on 'SPACE' in 1991. I was invited to participate and proposed a guided tour through the congress area within the National Center of Performing Arts (NCPA). During the 10 days that I was strolling around in the NCPA area, I allowed myself to be guided by the numerous sounds around me. They provided me with an acoustical topography of the area. I collected them during the whole time span. Out of this collection, I produced a tape with various acoustical atmosphere related to certain zones of the area. In this polyphonically structured tape, sounds of horses in the evening coexisted with, motor-launches, fast cars, alarms, exhaust fans, cattle, crickets and birds at dawn. This tape was the soundtrack to a walk that I guided. In groups of a dozen visitors, we went towards different spots in the area. During these walks each visitor had its own walkman on and listened to soundscapes, which had been composed entirely using recorded elements from the same spatial situation. Thus, the visitors walked in a concrete space --- listening to an artificial sound-track. This opposition between the concrete space and the acoustical dimension (which is at a remove from the concrete situation) invited the visitors to look for the source of what they heard, to see what they heard, and to imagine how certain sounds could have been linked to the specific situation. ***** A CERTAIN UNCERTAINTY Lynn Pocock-Williams 37 Huemmer Terrace Clifton, NJ 07013 USA A CERTAIN UNCERTAINTY (June, 1991) is a continuation of my exploration of the integration of sound and image. My art-work usually addresses music concepts, the emotional content of music, or a combination of the two, and I work primarily with time-variant imagery coupled with music. Incorporating the elements of time, change, and motion allows my images to exist most closely with their music counterparts. In the past, several of my videos were automatically generated using artificial intelligence techniques. That is, I developed a computer environment that read in music data, analyzed the music, and then generated animations that correlate to the music. These videos are abstract and created according to a system. My recent videos, on the other hand, are created according to intuition, and the imagery reflects the world around us. The method by which the videos are composed focuses on the connections between the qualities of the sounds and visuals. One of these recent videos, A CERTAIN UNCERTAINTY, is a 3:40 minute experimental music video featuring The New York Guitar Project, an acoustic guitar group. The video takes its name from the music that accompanies it, which was written by Reinaldo Perez and R. Stuart Williams. Shot during an intensive rehearsal weekend, the images present The New York Guitar Project at work. In the video, the musicians are presented on two overlapping visual planes - one in the foreground and one in the background. The foreground images are static and black and white, and new images are always covering over the current image. Several of these static pictures are digitally altered and reconstructed, adding to the complexity of the scene. The background images are presented in color, and they move in a slow, dream-like manner. Abstract windows that open up into the foreground plane allow a glimpse into the background performance. Both planes of images are digitally processed resulting in an overall organic, painterly quality. The resulting video of structure and non-structure is intended to be an expression of the structure and emotional content of the music. The video was created on an Amiga 500 computer, using customized software for the presentation of images, and LIVE! by A-Squared to process the resulting video. **** THE NIXON BOOKMOBILE G.P. Skratz and Bob Davis, 5524 Vicente Way, Oakland, CA 94609 USA Come on down take a leap & click your heels. It's good enough to pass for real. It's the Nixon Bookmobile, barrelling into town, barrelling into town --Advertising Jingle In THE NIXON BOOKMOBILE, we examine the connections linking Richard Nixon as nonpartisan myth, shamanism, contemporary China, astrology, old-time medicine shows & the moon. Sheer coincidence or conspiracy? You be the judge. Excerpt: Moonrise over Gushan, or "Drum Hill," east of Fuzhou: the Nixonauts--Sabina & the Dwarf--perform a chant for a spontaneous crowd of over 50 curiosity seekers: & these are the things we left on the moon american flags & these are the things we left on the moon laser ranging device & these are the things we left on the moon a one hundred pound seismometer & these are the things we left on the moon walking boots, equipment boxes & these are the things we left on the moon aluminum poles & urine bags & these are the things we left on the moon television cameras & these are the things we left on the moon richard nixon's autograph & these are the things we left on the moon & these are the things we left on the moon Excerpt: We ate popcorn & watched a slideshow at the Nixon Bookmobile. A bolt of lightening struck a manzanita tree which almost fell on the Nixon Bookmobile. We were married by the captain of the Nixon Bookmobile. It would take days to read all there was to read at the Nixon Bookmobile. ---- ed: THE NIXON BOOKMOBILE is a 2-man performance that consists of spoken text, songs, and audio-visual effects. In 1991, it was performed by Skratz and Davis at Intersection in San Francisco and at Small Press Distribution in Berkeley. CALENDAR - APRIL 1992 ________________________________________________________________________ 20 March - 4 April 1992 ENCUBES, Video Installations 31 March - 4 April 1992 7th VIDEOFORMES, Video Festival Contact: Multimedia Space rue Leo Lagrange POB 71, F63003, Clermont-Ferrand France ____________________________________________ 01 April - 21 June 1992 Rediscovering Pompeii, Accademia Italiana, London Contact: Accademia Italiana, 24 Rutland Gate, London SW7 1BB, UK, tel: 071 225 3474, fax: 071 589 5187. _____________________________________________ 05-09 April 1992 ACH/ALLC '92 Association for Computers and the Humanities and Association for Literary and Linguistics Computing, Oxford University, England Contact: Susan Hockey, Oxford University Computing Service, 13 Banbury Road, Oxford OX2 6NN, UK, email: firstname.lastname@example.org. _____________________________________________ 07-12 April 1992 10th World-wide Video Festival Kijkhuis, The Hague, Holland Contact: Noordeinde 140, 2514 GP Den Haag, The Netherlands, tel: 31 70 3644805, fax: 31 70 3614448. _____________________________________________ 14 April 1992 Asbjorn Schaathun in IRCAM's Studio 5 Contact: Marc Battier < Marc.Battier@ircam.fr >. _____________________________________________ 21--24 April 1992 Cybernetics and Systems Research 11th European Meeting on Cybernetics and Systems Research Vienna, Austria Contact: EMCSR 92 - Secretariat, Osterreichische Studiengesellschaft fur Kybernetik, Schottengasse 3, Wien 1 A-1010, Austria, email: email@example.com, tel: 43 1 53532810, fax: 43 1 630652. _____________________________________________ 22-25 April 1992 Videoformes/Rencontres Internationales Clermont-Ferrand, France Contact: Videoformes, Creation Video, BP 71, F-63003 Clermont-Ferrand Cedex, France, tel: 73 906758, fax: 73 924418. _____________________________________________ 30 April - 3 May 1992 Hyperculture: Virtual Presence in Complex Systems Gwent College of Higher Education, Caerleon, Wales Contact: Sheila Hill, Faculty of Art and Design, Gwent College of Higher Education, Caerleon NP6 1XJ, Wales, tel: 44 0 467 20584 or 44 0 633 421292, fax: 44 0 467 25181. _________________________________________________________________________ ISEA distributes this Newsletter in order to keep its members, who have no access to Electronic Mail, informed. Those members can, if they desire, get in touch with the Email addresse mentioned in this newsletter by contacting ISEA. The Inter-Society aims at joining an already existing world-wide network of artists, scientists and their institutes, making it easier for the institutes and individual members to share expertise with each other. The aims of the Inter-Society are to promote a structured approach to electronic art and to help finance worthy electronic art projects. For membership information contact : ISEA, POB 60103, 9703 BC Groningen, NL.